E♭ clarinet

In Italian, the term quartino refers specifically to the E♭ clarinet, particularly in band scores. The term it is also used, referring more generally to any small clarinet; in Italian scores, the E♭ clarinet is sometimes indicated as terzino in Mi♭, e.g. the Fantasia Eroica op. 33 (1913) by Francesco Paolo Neglia. Until the late nineteenth century, the term Elafà also indicated a clarinet in E♭. The Eflat clarinet is used in orchestras, concert bands, and marching bands, and plays a central role in clarinet choirs, carrying melodies that would be uncomfortably high for the Bflat clarinet. Solo repertoire is limited, but composers from Berlioz to Mahler have used it extensively as a solo instrument in orchestral contexts.

• Name — Eflat clarinet • Background — woodwind • Classification — *Woodwind • Wind • Reed aerophone • Hornbostel Sachs — 422.211.2 • Hornbostel Sachs Desc — Single reed instruments – with fingerholes • Range — written E3 - A6 sounding a minor third higher: G3 - C7 • Related — *Clarinet, D Clarinet • Illustration — Ravel, Bolero Ravel, Bolero

Many orchestration and instrumentation books show the highest written note for the E-flat clarinet as G6, compared to C7 for clarinets in A or B-flat.

Towards the end of the eighteenth century the clarinet in high F took this role until the Eflat clarinet took over beginning sometime in the second decade of the 1800s. Although the Eflat is somewhat of a rarity in school bands, it is a staple instrument in college and other upper level ensembles. Unlike the Bflat soprano clarinet which has numerous musicians performing on each part, the Eflat clarinet part is usually played by only one musician in a typical concert band. This is partially because the Eflat clarinet has a bright, shrill sound similar to the sound of the piccolo. It commonly plays the role of a garnish instrument along with the piccolo, and duo segments between the two instruments are quite common. The Eflat clarinet is often heard playing along with the flutes and/or oboes. Important soloistic parts in standard band repertoire for the Eflat clarinet include the second movement of Gustav Holst's First Suite in E-flat for Military Band (for two Eflat clarinets) and his piece "Hammersmith" (also for two Eflat clarinets), Paul Hindemith's Symphony in B-flat for Band, and Gordon Jacob's William Byrd Suite. The Eflat clarinet is also a featured player in modern wind band repertoire, such as Adam Gorb's Yiddish Dances, where it takes on a solo role for much of the five-movement piece.

While most Eflat clarinets are built and marketed for professionals or advanced students, inexpensive plastic Eflat clarinets have been produced for beginning children's use. These have a simplified fingering system, lacking some of the trill keys and alternative fingerings.

The slightly larger D clarinet is rare, although it was common in the early and mid-eighteenth century (see the Molter concertos below). The D clarinet has a total length of about 52 cm. From the end of that century to the present it has become less common than the clarinets in Eflat, Bflat, A, or even C. Handel’s Overture in D major for two clarinets and horn was probably written for two D clarinets. D clarinets were once commonly employed by some composers (e.g., Rimsky-Korsakov's Mlada) to be used by one player equipped with instruments in D and Eflat — analogous to a player using instruments in Bflat and A. In modern performance (especially in North America and western Europe outside German-speaking countries), it is normal to transpose D clarinet parts for Eflat clarinet. The rationale underlying a composer's choice between Eflat and D clarinet is often difficult to discern and can seem perverse, especially when the option not chosen would be easier for the player to execute. For instance, the original version of Arnold Schoenberg's Chamber Symphony No. 1 is for Eflat clarinet while the orchestral version is for D. Certain passages of Maurice Ravel's Daphnis et Chloe are set in concert D but are scored for Eflat clarinet, with the effect that some fingerings in those passages are extremely difficult on the E-flat clarinet, which is forced to play in its B major, but would be much easier on a D clarinet, which would play in its C major. Another famous example is the D clarinet part of Richard Strauss's Till Eulenspiegels lustige Streiche.

Parts written for D clarinet are usually played on the more popular Eflat clarinet, with the player transposing or playing from a written part transposed a semitone lower. Orchestral compositions and operas with notable Eflat or D clarinet solos include: • Hector Berlioz: Symphonie fantastique (Eflat) • Maurice Ravel: Boléro (Eflat) • Richard Strauss: Till Eulenspiegels lustige Streiche (D) • Igor Stravinsky: The Rite of Spring (D and Eflat) • Dmitri Shostakovich - Symphony No. 6 (Eflat), The Golden Age (Eflat), Lady Macbeth of Mtsensk (Eflat) • Gustav Mahler - Symphony No. 1 (Eflat) Other orchestral compositions and operas making extensive use of Eflat or D clarinet include: • Béla Bartók - Bluebeard's Castle (1&2 double Eflat), Miraculous Mandarin (Eflat and D) • Leonard Bernstein - Candide, West Side Story, On the Town, Divertimento for Orchestra, Slava! A Political Overture • Aaron Copland - El Salon Mexico • Edward Elgar - Symphony No. 2 • Leoš Janáček - Sinfonietta • Gustav Mahler - Symphonies Nos. 1 (2 Eflats), 2 (2 Eflats), 3 (2 Eflats), 4, 5 (D), 6 (4th movement for D), 7, 8, 9, 10 • Carl Orff - Carmina Burana (Orff), De temporum fine comoedia (6 clarinets in Eflat, with three doubling Bflat) • Sergei Prokofiev - Symphonies Nos. 4, 5, 6 • Maurice Ravel - Daphnis et Chloé, Piano Concerto in G, Piano Concerto for the Left Hand • Franz Schmidt - Symphony No. 4 • Dmitri Shostakovich - Symphonies Nos. 4, 5, 7, 8, 10, The Tale of the Priest and His Workman Balda • Richard Strauss - Ein Heldenleben, Eine Alpensinfonie, Also sprach Zarathustra, Sinfonia Domestica (D), Josephslegende (D) • Igor Stravinsky - The Firebird (D), The Rite of Spring

After 1950, works using Eflat clarinet are too numerous to note individually. However, among those where the instrument is featured beyond what would be considered normal in recent music are John Adams's Chamber Symphony, where two players play Eflat and bass clarinet and "double" on soprano and Adriana Hölszky's A due for two Eflat clarinets. The extended techniques of the Bflat clarinet, including multiphonics, flutter tonguing, and extreme registers, have all been imported to the Eflat.

• Illustration — Size comparison: clarinets in A♭, E♭ and B♭ Solo works for these instruments are relatively rare however steadily increasing in number. • Johann Melchior Molter: Six Clarinet Concerti (D; among the earliest extant clarinet concerti). • Concerti by Jerome Neff and William Neil. • Ernesto Cavallini: Carnival of Venice variations, Fantasia on a Theme from Ultimo Giorno Di Pompeii, and (with Giacomo Panizza) I figli di Eduardo 4th (all for E clarinet and piano). • Paul Mefano: Involutive for solo Eflat clarinet • Henri Rabaud: "Solo de Concours" for Eflat clarinet. • Jeroen Speak: Epeisodos for solo Eflat clarinet. • Amilcare Ponchielli: Quartetto for Bflat and Eflat clarinets, flute, and oboe, with piano accompaniment. • Giacinto Scelsi: "Tre Pezzi for Eflat Clarinet" • William Bolcom: "Suite of Four Dances for Eflat Clarinet" • Manuel Lillo Torregrosa: "Teren Rof", "Vivencias", "Obviam ire siglo", "Angular": Concerts 1, 2, 3, 4 for Eflat Clarinet and Band • Arnold Schoenberg: Suite, op. 29 (Eflat, Bflat, and bass clarinet, violin, viola, violoncello, piano). • Anton Webern: Drei Lieder fur Singstimme, Es-Klarinette und Gitarre Op.18.